PS 635 
.29 S44 

Copy 1 


a 4~ 

PRICE IS CENTS. 



COMIC OPERETTA, 


AFTER THE FRENCH OF FRANCIS TOURTE. 


WRITTEN AND THE MUSIC COMPOSED 

By ALFRED B. SEDGWICK, 

Author of “ Leap Year,” “ Afy Walking Photograph,” “ TAe Teem 
Sisters,” “ Estranged,” “ Sold Again and got the Money,” “ 
Queerest Courtship,” “ Molly Moriarty,” “ Manette, 
the Chattered'” “ Revolution,” “ 77te Mar¬ 
ried Single Man,” etc., etc., etc. 


TO WHICH ARE ADDED, 

! A description of the Costumes—Synopsis of the Piece—Cast of the Characters 
—Entrances and Exits—Relative Positions of the Performers on 
the Stage, and the whole of the Stage Business. 


.fltto-gork : 

ROBERT M. DE WITT, PUBLI 

No. 33 Rose Street. 


The MS. orchestral parts of the music of “ Circumstances alter Cases,” 
arranged by Alfred B. Sedgwick, for First and Second Violins, Viola 
Basse, Flute, Clarionet, Cornet and Trombone, can be obtained to order, 
price $9.00, from Robert M. De Witt, Publisher, No. 33 Rose street, N. Y. 













































SB WITT’S ETHIOPIAN A COMIC BKAMAS, 


Nothing so thorough and, complete in the way of Ethiopian and Comic Dramas has ever 
been printed as those that appear in the following list. Not Only are the plots excellent) the 
characters droll , the incidents funny' the language humorous , but all the situations , by-play, 
positions , pantomimic business, scenery and tricks are so plainly set down , and clearly ex¬ 
plained , that the merest novice could putpny of them on the stage. Included in this catalogue 
are all the most laughable and effective pieces of their class ever produced. 


*** In ordering, please copy the figures at the commencement of each play, which indicate 


the number of the piece in “ De WiTT’jr Ethiopian and Comic Drama.” 

Any of the following Plays sent, postage free, on receipt of price —15 Cents Each.. 


Address, 


ROBERT M. DE WITT, 

JY'o. 33 ftose SI reel, JV'ew York, 


The figure following the name of the Play denotes the number of Scenes, 
figures in the columns indicate the number of characters. — M. male ; F. female. 

*** Female characters are generally assumed by males in these plays. 


The 


No 

73. 


10 . 

11 . 

24. 

40. 

42. 

43. 

78. 

79. 

89. 

35. 

41. 
12 . 

50. 
53. 

63. 

64. 
95. 

4. 

52. 

67. 
98. 

25. 

51. 
88 . 

17. 
31. 
20 . 
58. 

70. 
77. 
82. 
83. 
88 . 

3. 

23. 

48. 

61. 

68 . 

71. 
33. 
91. 

1 . 

18. 

36. 

37. 
60. 

90. 
6 \ 

19. 


M. P. 

African Box, burlesque, 2 scenes... 5 
Black Chap from Whitechapel, 1 s. 4 

Black Chemist, sketch, 1 scene. 3 

Black Ey’d William, 2 scenes.4 1 

Bruised and Cured, sketch, 1 scene. 2 

Big Mistake, sketch, 1 scene...4 

Bad Whiskey, sketch, 1 scene.2 1 

Baby Elephant, sketch, 2 scenes... 7 1 

Bogus Indian, sketch, 4 scenes.5 2 

Barney's Courtship, Irish, 1 scene. 1 1 
Bogus Talking .Machine, Dutch 4 
Coal Heavers’ Revenge, 1 scene.. 6 

Cremation, sketch, 2,scenes.8 4 

Daguerreotypes, sketch, 1 scene.... 3 
Draft (The), sketch, 1-act, 2 scenes. 6 

Damon and Pythias, 2 scenes.5 1 

Darkey’s Stratagem, sketch, 1 act.. 3 1 
Dutchman’s Ghost, sketch, 1 scene. 4 1 

Dutch Justice, sketch, 1 scene.11 

Eh t What is it ? sketch, 1 scene... 4 1 

Excise Trials, sketch, 1 scene.10 1 

Editor’s Troubles, farce, in 1 scene.. 6 
Elopement (The), farce, 2 scenes... 4 1 

Fellow That Looks Like Me, Is_ 2 1 

Fisherman’s Luck, sketch, 1 scene. 2 
First Night, Dutch sketch, 4 scenes 4 2 

Ghost (The), sketch, 1 scene.2 

Glycerine Oil, sketch, 2 scenes. ... 3 
Going for the Cup, interlude, 1 scene 4 

Ghost in a Pawnshop, 1 scene.4 

Guide to the Stage, sketch, 1 scene. 3 
Getting Square on Call Boy, 1 scene 3 
Good Night's Rest, sketch, 1 scene 3 
German Emigrant, sketch, 1 scene. 3 1 

Gripsack, sketch, 1 scene.3 

Hemmed In, sketch, 1 scene.3 1 

Hard Times, extravaganza, 1 scene. 5 1 
High Jack, the Heeler, 1 scene.. 6 

Happy Couple, sketch, 1 scene.2 1 

Hippotheatron, sketch, 1 scene. 9 

In and Out, sketch, 1 scene. 2 

Jealous Husband, sketch, 1 scene 2 1 

Julius the Snoozer, 3 scenes.7 

Last of the Mohicms, 1 scene.... 3 1 

Live Injun, sketch, 4 scenes.4 1 

Laughing Gas, sketch, 1 scene. 6 1 

Lucky Job, farce, 2 scenes. 3 2 

Lost Will, sketch, 1 scene.4 

Lunatic (The), sketch, 1 scene.3 

‘Mutton Trial, sketch, 2 scenes. 4 

Malicious Trespass, sketch, 1 scene. 3 


No. 

44. 

96. 
101 . 

49. 

22 . 

27. 
30. 
76. 

9. 

57. 

65. 

68 . 

87. 

91. 

92. 

14. 
26. 

45. 

55. 
81. 

7. 

13. 

15. 
80. 
84. 
21 . 

16. 

38. 

46. 

56. 
59. 
69. 
72. 

74. 
100 . 
102 . 

5. 

2 . 

34. 

47. 
54. 

28. 
62. 
29. 
32. 

39. 

75. 

93. 

97. 
99. 
"85. 


M. P. 

Musical Servant, sketch, 1 scene... 3 
Midnight Intruder (The), 1 scene.. 6 1 

Molly Mori arty, Irish, 1 scene. 1 1 

Night in a Strange Hotel, 1 scene.... 2 
Obeying Orders", sketch, 1 scene... 2 1 

100th Night of Hamlet, 1 scene.7 1 

One Night in a Bar Room, 1 scene 7 
One, Two. Three, sketch, 1 scene.. 7 

Policy Players, sketch,-1 scene. 7 

Pompey’s Patients, 2 scenes.. 6 

Por er’s Troubles, sketch, 1 scene.. 6 1 
Port Wine vs. Jealousy, 1 scene.. 2 1 
Pete the Peddlar, sketch, 1 scene.. 2 1 
Painter’s Apprentice (Th ,, 1 s ene 5 

Polar Bear (The,) farce, 1 scene_ 5 

Recruiting Office, sketch, 2 scenes. 5 

Rival Tenants, sketch, 1 scene.4 

Remittance from Home, 1 scene... 6 

Rigging a Purchase, 1 scene. 2 

Rival Artists, sketch, 1 scene. 3 

Stupid Servant, sketch, 1 scene..., 2 
Streets of New York, sketch, 1 scene 6 

Sam’s Courtship, farce, 1 scene_2 1 

Scenes on the Mississippi, 2 scenes. 6 
Serenade (The), sketch, 2 scenes... 7 
Scampini, pantomime, 2 scenes.... 6 3 
Storming the Fort, sketch, 1 scene. 5 
Siamese Twins, sketch, 2 scenes... 5 

Slippery Day, sketch, 1 scene. 6 1 

Stage Struck Couple (The), 1 scene. 2 1 
Sausage Makers (The), sketch, 2 s.. 5 1 
Squire for a Day, sketch, 1 scene... 5 1 

Stranger (The), sketch, 1 scene_ 1 1 

SleepWalker (The), sketch, 2 scenes 3 
Three Chiefs (The), sketch, 2 scenes 6 

Three, A. M., sketch, 1 scene. 3 1 

Two Black Roses-(The), sketch.... 4 1 

Tricks, sketch, 2 scenes. £> 2 

Three Strings to One Bow, 1 scene. 4 1 
Take It,'Don’t Take If, sketch, 1 s. 2 

q’iiem Papers, sketch, 1 scene. 3 

Uncle Eph’s Dream, sketch, 2 s ... 3 1 
Vinegar Bitters, sketch, one scene. 6 1 
Who Died First, sketch. 1 scene... 3 1 
Wake up, William Henry, 1 scene.. 3 
Wanted, a Nurse, sketch, 1 scene.. 5 
Weston the Walkist, Dutch 1 scene 7 1 
What Shall I Take ? sketch, 2 scenes 8 1 
Who’s- the Actor ? farce, 1 scene... 4 
Wrong Woman in the Right Place 3 1 
Young Scamp (The), sketch, 1 scene 3 


f 













































To my earliest friend in America, GEORGE E. BRJSTO W. 


CIRCUMSTANCES ALTER CASES 


Comic 


WRITTEN AND COMPOSED BY 


ALFRED B. SEDGWICK, 


(The Libretto after the French of Francis Tourte.) 


Author of “Leap Year;” “My Walking Photograph;" “ The Twin Sisters; 
“ Estranged ;” “ Sold again and got the Money;" “ The Queerest Courtship” 
“ Mdley Moriarty ;" “ Manette the Chatterer ;” “Revolution ;” “ The 
Married Single Man,” dec. dec. dec . 


TO WHICH ARE ADDED, 

A DESCRIPTION OF THE COSTUMES—CAST OF THE CHARACTERS—SYNOP¬ 
SIS OF THE PIECE—ENTRANCES AND EXITS—RELATIVE POSI¬ 
TIONS OF THE PERFORMERS ON THE STAGE, AND THE 
WHOLE OF THE STAGE BUSINESS. 


ROBERT M. DE WITT, PU 


NEW YORK: 



No. 33 Rose Street. 


BETWEEN DUANE AND FRANKFORT STREETS.) 


Copyright. in' Robert >f. Re Witt. 








2 


CIRCUMSTANCES ALTER CASES. 


CAST OF CHARACTERS. 


?S 


435 " 


Mr. Felix Slyfox. (An old Boston Lawyer.). 

Madame Angot. (Premiere Danseuse de la Ballet de 1’ Opera.) 


TIME CF REPRESENTATION TWENTY MINUTES. 


Period.— The present day. 

SCENERY. 

Vestibule. 


C. 



COSTUMES. 

Slyfox. Precise old gentleman’s clerical suit. White neck-tie; white 
wig; gold spectacles; cane. 

Madame Angot. Fashionable morning dress of the period. 

PROPERTIES. 

Escretoire with legal papers. Flowers, ornaments, and books for 
table. Cane, gold spectacles, gold eye-glass for Slyfox. Handsome fan 
and eye-glass for Madame. Stylish sofas, chairs, Ac. 


bent $70 5U 770 











CIRCUMSTANCES ALTER CASES. 


3 


SYNOPSIS. 

Madame Angot, although residing in New York, is a native of France. 
Her parents were rich, but through political troubles—their property was 
confiscated and they had to flv the country. Arriving in New York thev died 
there, and Mademoiselle Angot, finding herself thrown on her own resources, 
assumed the style of Madame—adopted the stage as a profession, and finally 
became eminent as a Premiere Danseuse , in some measure owing to the popu. 
larity of “ La Fille de Madame Angot.” Previous to the opening of the piece, 
she has made the acquaintance of a rising young New York lawyer, who falls 
desperately in love with her, and by his legal talents enables her to recover 
her father’s fortune. Old Mr. Slyfox, his father, who resides in Boston, hears 
of this love affair—but not of the fortune. Horrified at the idea of his son 
marrying a ballet girl—lie comes on to New York to remonstrate. He visits 
Madame, hears all about the fortune, and avarice overcoming discretion, pro¬ 
poses to her himself, although she has avowed her intention of marrying his 
son. Of course he is repulsed—and being frightened into the idea that the 
money may not come into the family after all, obtains forgiveness by under¬ 
taking to go through a just hut very absurd penance. 


EXPLANATION OF THE STAGE DIRECTIONS. 

The Actor is supposed to face the Audience. 


D. R. C. C. L>. D. L. C. 


R. U. E. 


SCENE. 


L. U. E. 


R. 3 E. 


/ 


R. 2 E. 


/ 


1 

\ 


L. 3 Ej 


1 

\ 


L. 2 E. 


R. 1 E. 


/ 


\ 


L. 1 E. 


R. 


R. C. C. 

AUDIENCE. 


L. C. 


L- 


L. 

Left. 

c. 


Centre. 

L. C. 

Left Centre. 

R. 


Right. 

L. 1 E. 

Left First Entrance. 

R 

1 E. 

Right First Entrance. 

L. 2 E. 

Left Second Entrance. 

R. 

2 E. 

Right Second Entrance 

I.. 3 E. 

Left Third Entrance. 

R. 

3 E. 

Right Third Entrance. 

L. U. E. 

Left Upper Entrance 

R. 

U. E. 

Right Upper Entrance. 

(wherever this Scene may be,) 

I). 

R. C. 

Door Right Centre. 


i). i,. e. Door Left Centre.. 














CIRCUMSTANCES ALTER CASES 


[SCENE.— A handsome parlor. Folding doors in flat c. 4th e. look¬ 
ing on vestibule and handsome hall at back. Handsome furniture, 
chairs, sofas, tables, with flowers, books, &c. In fact, everything 
to constitute the habitation of a rich lady. An open Escritoire on 
table, at r. between 2 d and 3 d e. s. Music as curtain rises. Mr. 
Slyfox enters at door c. and stands talking off as if to a servant.'] 


IVo. 1.—Introduction. 



















































































CIKCUMSTANCES ALTEH CASES. 5 






i 
































































































































































6 


CIRCUMSTANCES ALTER CASES. 


Sly.— (Angrily.) Why! you miserable rascal! you black jacka¬ 
napes! To have the audacity to.ask me—Me! a respectable and austere 
lawyer!—One-I may well say without egotism, of the highest standing 
m Boston!—Ahem !as to whether I have brought any jewels, bon bons 
or bouquets for Madame Angot? Bother Madame Angot! She has both¬ 
ered me enough. This premiere danseuse ! This jumping Jennie of the 
Opera. Who because accidents caused her to be born with such a name— 
suddenly becomes famous on the strength of the success of Le Coeq’s 
Opera! Bali! All the world now runs after Madame Angot! a mere bal¬ 
let dancer. Even I, respectable and austere solicitor—from Boston, 
Ahem! as I am, have been caught in her snares. No one can hope to 
escape this Ango—phobia. (Again speaking off.) What's that you 
say? lunominable flunkey! Miserable individual with a black face and 
shiny brass buttons ! Want my card ? No ! ! Go tell your mistress di¬ 
rectly that Mr. Felix Slyfox, respectable and austere lawyer - from Bos¬ 
ton!—Ahem! Never sends cards to opera dancers! He wants to see 
Madame Angot! That’s all! Go miserable imp of the period—and tell 
her so. (Roars) Go!! (comes forward during symphony of song.) 




— — o—t ——: 

I -^-H . 


Fe - lix Sly-fox is my name! And I have a soil and 











































































































































CIRCUMSTANCES ALTER CASES. 


7 



heir! Who loves all the good things here oil earth E - 




- spe- cial - ly the fair! Like oth - er 



men his penchant's great, For ev - ’ry thing that’s 










































































































































































































8 


CIRCUMSTANCES ALTER CASES. 




thinks that for the fashion’s sake A mistress he must 











































































































































































































CIRCUMSTANCES ALTER CASES, 


9 



take! But “no, no, no” say I, “No 




lA'? 


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s A 


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, ^ . ___1 











































































































































































































































































































10 


CIRCUMSTANCES ALTER CASES 






























































































































































































































































































CIRCUMSTANCES ALTER CASES 


11 





loves 



/C\ /ts 



all good things here be-low, Es-pe-cial -ly the 






























































































































































































































































































































12 CIRCUMSTANCES ALTER CASES. 

Enter Madame Angot door in c. She is Jctshionably and handsomely 
dressed and carries a magnificent fan with which she flirts all 

the time. 

M. Ang.—r. c. Where is this outrageous individual. (Places eye¬ 
glass to her eye and stares at him in fashionable style.) What’s this 
I see? Is it some antiquated antediluvian or a “ Tombs lawyer?” 

Sly.—l. c. (Starting.) —Tomb’s lawyer? Bless me how she talks. 

M. Ang.—W ho and what are you, sir? 

Sly.— Mr. Felix Slyfox^ (bowing) a respectable and austere lawyer— 
from Boston!—Ahem! At your service! 

M. Ang.— Sly! Fox!—fox? fox? fox? Oh !—let me see? Ah! That 
reminds me of the fable! But—No—it was not the fox that was up a 
t r ee!—It was the crow! Yes ! And now I examine you. ( Crosses to¬ 
wards him , staring through eye-glass) you look exceedingly more like a 
crow than a fox!—Ha ! Ha! Ha! (lie backs to l.) 

Sly.—l. Madame Angot, if such be your name, permit me to repeat 
that I am a respectable and austere lawyer from Boston !—Ahem ! And 
to add that I am not at this particular moment in a humor for joking. 
My name is Slyfox—and this i3 the first time in my life that I was ever 
compared to a crow ? (Aside.) What a remarkably handsome woman. 
Upon my word-I can hardly blame my son for his admiration of her. 

M. Ang.— Sir! you may be both austere and respectable for aught I 
care—but (walking towards him fiercely—while he starts back l. d .) 
That don’t explain this intrusion. 

Sly .—(Warming up and walking her back again l. to r. c.) Ma¬ 
dame ! Give me back my son ! 

M. Ang. — (Repeating same business.) Your son ! Who is your son ? 
What have I to do with him ? Do you think I keep him in my pocket—or 
that my house is a private asylum for stray children ? 

DUETT. —Madame Angot and Felix. 

































































CIRCUMSTANCES ALTER CASES, 


13 































































































































































































































































14 


CIRCUMSTANCES ALTER CASES 


Madame. 


Felix. 





































































































































































































































CIRCUMSTANCES ALTER CASES, 


15 


Madame.—H e 


is 


not 


G-r4 


I 



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w 

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do 


cu - ment 


hold, He should be 



here! He is not here! No! 



here! He should be here! Yes! 



Madame. 

&Z 1 


Felix. 


0 — 0 - 


-y- 


v- 




- ! - 1 

- TS 

u 






0 0 

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Quit this house! o-bey me! Restore my son, I pray thee! 



Allegro assai 

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16 


CIRCUMSTANCES ALTER CASES 


Mad. i don’t keep him in my pock - et. 
—=—=—*—=— 


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p^?E?=EfE=: 


m. 

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You've his heart’s key, please un - lock_it. 

_ ^~^ lit time. 


t f 


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pock - et. 


Madame. 


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?-~~-0 


: :*zzz§?z^zz:£z:d_z£zZ_ ztz 


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lock_it_ 

2d time. 



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Your son has not been 


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here to-day. 


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Madame, restore him 

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CIRCUMSTANCES ALTER CASES, 


17 


Madame, i don’t keep him 



store my son, I pray thee; Youv’e his heart’s key, 



in my pock - et. 

Felix. 



ii 

--i-\/—'>—\/— 






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C? y D F - 


3 


parent ? Madame your plans I’ll defeat. 




_*-^- * —! # { !—^ .‘--l 











































































































































18 


CIRCUMSTANCES ALTER CASES 









































































































































































































CIRCUMSTANCES ALTER CASES. 


19 


in my pocket. 

I 1st time. 


in my pocket. 

2d time. 


Mad. I don’t keep him 

0_L ___- ' 1st time. | 2d time. ' 

’-I 1 -* T»-:— m-i • 9 _r^zzs"3 


. - r~ . , j . ( 

You've his heart’s key, please uu - lock it. please un - lock it. 




\ \ J_1 

5H 






W - 





I don’t keep him in my pocket! I don’t keep him in my 



pock -et! I don’t keep him in my pocket! Out of 



- lock it! You’ve his hearts key please un-lock it, Madame your 
































































































































20 


CIRCUMSTANCES ALTER CASES, 


this house pray, sir, go, 


ls£ time, y 2d time. 


ir 




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plans I’ll soon lay low. 


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Out of this house, sir, 

—N- 


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low. Madame your plans I’ll 

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pray now go! Out of this house, sir, pray now go! 


$ 




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pray now go ! Madame your plans I'll soon lay low ! 

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pray 


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CIRCUMSTANCES ALTER CASES. 


21 


go. 



Sly.— Madame Angot, you don’t seem to recognize the name. When 
my son was born, it was that of his father,—Felix Slyboots—but as in 
this enlightened and republican country—we are obliged to bow to the 
dictates of fashion—his mother and I decided that he should be called by 
the more aristocratic French name of Renard!—Felix Renard. 

M. Ang. -( Starting , surprised—she jesses her hand to her heart. ) 
Felix Renard ? 

Sly .—(Watching her.) Aye! You may well start \— (Comically.) 
Wretched woman! do you know that you have morally murdered my son 
at a time that I was about to make him marry a girl whom he has never 
seen ? ( Following her up again l. c. to r. ) 

M. Ang.— (Following him back.) And do you know Mr. Slyboots— 

Sly.— Fox! — Fox ! Madame. 

M. Ang. - Well—Crow—Fox. Cox- -Stocks—Do you know that I have 
a very great mind to order my servants to throw you out of the window ? 
(Follows him up. he backing r. to l.) 

Sly. — ( Following her up. liecrossing l. to R. ) Bah ! 

M. Ang.—B ah ! (She takes stage again r. to c.) 

Sly.- Bah !! (Both, J—Bah !!! 

M. Ang. — Bah? (She pauses, reflecting.) Now I look at you—I can’t 
help thinking that you are an exceedingly amusing creature. I don't 
know but what I begin to like your oddities. 

Sly .—(Angry.) No one can be treated with proper respect in the 
house of a ballet dancer. 

M. Ang.—Y ou think so, because you are inexperienced in our ways— 
and besides - that like most of your class, you envy our success ! A pro¬ 
fessional artiste can coin money while you attorneys plod for it, and yet 
as the world goes there are as many honest and virtuous women in the 
theatrical profession as there are respectable lawyers. So now then Mr. 
Crow—Raven—Craven—Goose —Fox—Sheep or Wolf in lambs clothing— 
Whatever your name may l>e—Explain yourself? 

















































































22 CIRCUMSTANCES ALTER CASES. 

Sly.— I have already done so! Give me back my son. Restore to me 
mv Felix Renard. 

M. Ang. — (Laughing.) Ah, ah, ah! Do you mean the rising young 
Advocate of this City ? 

Sly.—M ost assuredly no other. 

M. Ang —How droll! I should have thought that by this time he was ; 
quite capable of taking care of himself and me too. But you are a queer 
lish — and I find it in my heart to like you for his sake. So listen. My 
name is really Angot. It was that of my parents—and although as yet 
never married—by affixing to it the cognomen of Madame—I have been , 
enabled to escape many unjust remarks and accusations. I owe much 
of my success to my personal appearance. But far more to the celebrity 
of that remarkable Fish woman of the Parisian Markets. In America ns 
in France—Madame Angot and her daughter have been paraded at all 
the theatres. People have dressed a la Madame Angot. They have 
danced a la Madame Angot—They have eaten a U Madame Angot! 
Hence you see that the inspiration of Monsieur Le Cocq’s music has had 
charms for the highest as for the lowest of the human race. Can you be 
astonished therefore, that 1 , possessing her name and an equal chic— 
should place myself under her patronage! 


BALLAD.— Madame Angot. 


IVo. 4r.— Allegro. 












































































CIRCUMSTANCES ALTER CASES. 


23 










































































































































































































24 


CIRCUMSTANCES ALTER CASES. 



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scene ! Her name has made my fortune in the pantomimic scene. 





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CIRCUMSTANCES ALTER CASES, 


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26 


CIRCUMSTANCES ALTER CASES. 


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Sly.— (After Song.) Madame, this is all very fine! but it does not 
restore me my son—and I did not come here to be made a fool of. 

M. Ang. —Ah ! I see ! there is more goose than fox about you. And I 
am sorry to know that there are so many of your kind in New York. 

Sly. — (Violently.) Madame; you have misled—enthralled—decoyed 
away my son. There are laws, Madame! There are law3 in the State of 
New York, which— (Suddenly changing to coaxing tone.) Beautiful 
Houri of the ballet—give me back my foolish infatuated son ? 

M. Ang.— Go on, Sir— (they cross) if you continue much longer in this 
manner, you will prove yourself a greater fool than your son could ever 
be! Oh ! you make me impatient with your stupid conduct. 

Six.—(Expostulating.) Why! Didn’t I offer him two thousand dol¬ 
lars to be rid of you! 

M. Ang .—(Laughing.) Two Thousand Dollars! And he would not 
take it? Ha! ha! ha! Sensible fellow! Why you foolish old man. I could 
offer him twenty thousand more to stay—and yet not feel embarrassed. 

Sly. —(Holds up his hands.) Twenty thousand more! Prodigious ! 
(reflecting) Oh! you are joking? Opera Dancers can’t afford tothrow 
away so much money. No ! I am not to be fooled in this manner. 

M. Ang. — Sir! I was never more in earnest! You are one of many 
whose prejudices and narrow-mindedness lead them to believe that when 
a woman takes to the stage—she must necessarily become all that is bad. 
Let me assure you that it is not so. There are black sheep in every 
flock—even in your profession—nay—even among the clergy. You, Mr. 
Slyfox have told me that you are from Boston. Now Boston Attornies 
are said to know something! But I claim you to be an exception. For 
example: your son received his education at the New York Bar. See 
what it has done for him—and he for me! (Goes to Escritoire r. 2nd e. 
and takes out paper.) By his learning and experience he has restored 
to me a fortune amounting to over a million dollars, which I had looked 
upon as lost for ever. Though now liviug in New York—I am Parisienne 
by birth—and of high rank in France. My father was a refugee. At the 
time of Napoleon’s Coup d’ etat— he had to fly from his country. His 
estates were confiscated and given to a distant relation, a protege of the 
Emperor. This relative became a wealthy banker in the Island of Mar¬ 
tinique and is but recently dead. Thanks to your son’s talent, I am once 
more in possession of my rightful inheritance. Don’t you think I owe him 
some return ? (Hands him papers.) 


























































CIRCUMSTANCES ALTER CASES. 27 

Sly .—(Looking ctt papers through eye-glass.) Extraordinary! But 
not to be disputed. (Bowing low.) Madame Angot! On the word of a 
respectable and austere lawyer from Boston-Ahem! These papers are 
undoubtedly correct. ( Hands them back.) 

M. Ang.—W ell! Mr. Slyfox! You must now see that it is absolutely 
necessary that you render up your son. You have offered him two 
thousand dollars to give me up. I offer him my hand and fortune to 
remain!—and I may add—a face—not to be despised—eh, Mr. Slyfox? 

Sly.— (Aside.) No! nor lost sight of! I am a widower myself, and 
certainly not too old to marry again. 

M. Ang.— Remember! It is not the favorite danseuse of the ballet—but 
the rich heiress of a West Indian banker who tells you this! 

Sly.— ( With fervor.) Say, rather, the Empress of society! 

M. Ang.— Be that as it may. Do you reject my offer? 

Sly.- On the contrary. Substitute my name for that of my son—and 
I’ll sign the contract with both hands at once! (Aside.) A million dol¬ 
lars ! Its beyond comprehension. 

31. Ang. - (Aside.) The miserly old rascal! He would sacrifice his own 
son’s happiness for the sake of money! 

Sly. —Madame Angot, You are a great lady! (He falls on both 
knees , at her feet—snatches her hand and attempts to kiss it.) Beauti¬ 
ful Enchantress! Permit me to salute you. (She slaps him on the face 
with her fan—and pushes him over.) 

Sly. — (Aside.) (Sprawling and endeavoring to rise.) I have been 
too hasty. (Aloud.) Pardon me, Madame ! I am but a rough old bear, 
but my feelings get the better of my judgment. Pray receive my excuses. 
This evening—with your permission—we will dine at Delmonico’s, and 
then proceed to the Bal de Cercle Francais in Irving Place! you shall 
dance and I will— 

M. Ang.— (Angrily.) Nothing of the kind, Sir. (Aside.) Bal de 
Cercle Francais ? A happy thought—the old fool’s avarice overreaches his 
paternal love! I will give him a lesson. (Aloud.) You have grossly 
insulted me, and must quit this house immediately. Go!—I will never 
more see you or your son. 

Sly.— (Aside.) Gracious! And a million dollars to slip out of our 
family through my short sightedness. But I must try to make it up with 
her. She ^evidently in love with Felix and may be pacified. (Aloud.) 
Again I ask your pardon. Madame. Will you not forgive me? What I 
did was all in the interest of my son. 

M. Ang.— (Aside.) Crafty dissembler. (Aloud.) Forgive you! (laugh¬ 
ing behind fan.) What a naughty Notary you are! 

Sly.—E mpress of the balleCMillionaire of Society! Can you refuse to 
pardon my indiscretion ? 

M. Ang.— Well! no ! That is - on one condition. (Suddenly.) Did you 
ever dance the Polka ? 

Sly.— (Amazed.) The Polka! (Aside.) What can she mean? 

M. Ang.— Yes! The Polka. 

Sly.— Well—yes! When I was younger—it seems to me that I really 
did—a— 

M. Ang.— You really did what every f#ol does when he is young. And 
still are inclined to do what every old fool thinks he can accomplish when 
he is no longer so. I will grant you my pardon on this one condition 
and no other. I know nothing of dancing—save that of the modern 
ballet style. But I should dearly like to see'tliose ridiculous old steps my 
grandmother used to talk so fondly of. Let me see. How did they go? 
(Imitates.) You surely must know all about them. Proffer me an ex¬ 
hibition ? I will be an impartial critic. And if you do credit to your 
ancient dancing master—I will forgive you! 


CIRCUMSTANCES ALTER CASES. 


28 

Sly .—[Horrified) Madame! You surely cannot mean it. Can you 
ask me—Felix Slyboots, Esq., a respectable and austere lawyer- from 
Boston—Ahem!—a man of sixty summers—to—to dance the Polka? And 
that too with all the old fashioned steps. What would my clients say if 
they were to see me? 

M. Ang.— Oh! that’s of no consequence at all. Besides— they are 
not here ! And if you want my pardon -and the settlement of my fortune 
on vour son—you will surely obey my commands! 

Sly. - [Aside.) Oh, dear! The family will lose a fortune of a million 
dollars unless I make a fool of myself in my old age. The prospect is 
too tempting—anci as 1 have brought myself into this scrape—I must 
make the sacrifice. (Aloud.) Madame! you are too fascinating to be 
refused anything. And as you are so peremptory—I will endeavor to 
obey you. (Aside.) Oh dear! Oh dear! How stiff my bones begin to 
feek But—a million dollars !!—Here goes! 

(He clears away the tables and chairs. He goes up stage c. and 
takes position in a grotesque attitude. Chord. The music subsides 
into Jullien's Original Polka. He dances the old fashioned stage steps 
in an awkward manner , —Madame Angot all the time applauding and 
making fun of him to the audience. Presently the music changes to a 
waltz. She runs up to him takes him by the waist and they waltz, she 
singing to the air. As the music becomes faster he trips and falls 
nearly pulling her down with him, but she breaks away. Picture. She 
laughing immoderately, and he rubbing his shins dolefully as the cur¬ 
tain falls. 


Dance and Finale. 


IVo. 5 .—Tempo di Polka. 




































































CIRCUMSTANCES ALTER CASES. 29 


‘‘Jullien s Original Polka.” To be played grotesquely. 





NOTE .—Julliens Polka is kept up until Slyfox stops from, exhaustion, then go imme¬ 
diately to Waltz—rather fast. 

IVo. (i.—Tempo di False. (Enchaines les numeros.) 
















































































































































































































































































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DE WITT'S ACTING PLAYS 




Please notice that nearly all the Comedies, Farces and Comediettas in the following 
hst if De Witt’s Acting Plays” are very suitable for representation in small Amateur Thea¬ 
tres and on Parlor Stages, as they need but little extrinsic aid from complicated scenery or 
expensive costumes. They have attained their deserved popularity by their droll situations , 
excellent plots, great humor and brilliant dialogues, no less than by the fact that they are the 
most perfect in every respect of any edition of plays ever published either in the United States 
or Europe, whether as regards purity of the text, accuracy and fulness of stage directions and 
scenery, or elegance of typography and clearness of printing. 

*** In ordering please copy the figures at the commencement of each piece, which indicate 
the number of the piece in “ De Witt’s List op Acting Plats.” 

jggp Any of the following Plays sent, postage free, on receipt of price—IS 
cents each. 

Address. ROBERT M. DE WITT, 

No. 33 Ttose Street, New York. 

The figure following the name of the Play denotes the number of 
Acts. The figures in the columns indicate the number of characters—M. mate; 


F. female. 

No. m. F. 

75. Adrienne, drama, 3 acts. 7 3 

114. Anything for a Change, comedy, 13 3 
167. Apple Blossoms, comedy, 3 acts. .. 7 3 

93. Area Belle (The), farce, 1 act. 3 2 

40. Atchi, comedietta, 1 act. 3 2 

89. Aunt Charlotte’s Maid, farce. 1 act.. 3 3 

192. Game of Cards (A), comedietta, 13 1 
166. Bardell vs. Pickwick, sketch, 1 act. 6 2 

41. Beautiful Forever, farce, 1 act. 2 3 

141. Bells (The), drama, 3 acts. 9 3 

67. Birthplace of Podgers, farce, 1 act.. 7 3 

36. Black Sheep, drama, 3 acts.7 5 

160. Blow for Blow, drama, 4 acts.11 6 

70. Bonnie Fish Wife, farce, 1 act. 3 1 

179. Breach of Promise,, drama, 2 acts.. 5 2 
25. Broken-Hearted Club, comedietta, 14 8 

24. Cabman, No. 93, farce, 1 act. 2 2 

1. Caste, comedy, 3 acts. ^ 3 

69. Caught by the Cliff, farce, 1 act-4 1 

175. Cast upon the World, drama, 5acts.l0 5 
55. Catharine Howard, historical play, 

3 acts.12 5 

80. Charming pair, farce, 1 act. 4 3 

65. Checkmate, comedy, 2 acts. 6 5 

68. Chevalier de St. George, drama, 3 9 3 

76. Chops of the Channel, farce, 1 act. 3 2 

149. Clouds, comedy, 4 acts...8 7 

121. Comical Countess, farce, 1 act.3 l 

107. Cupboard Love, farce, 1 act .2 1 

152. Cupid’s Eye-Glass, comedy, 1 act... 1 l 

52. Cup of Tea, comedietta, 1 act...... 3 1 

148 * Cut off with a Shilling, comedietta, 

1 c t . 2 1 

113. Cvrill’s Success, comedy, 0 acts... .10 4 
199. Captain of the Watch (The), come¬ 
dietta, 1 act. i j 

20. Daddy Gray, drama, 3 acts ....... » 4 

4 Dandelion’s Dodges, farce, 1 act.... 4 2 

22. David Garrick, comedy, 3 acts .... 8 6 
96. Dearest Mamma, comedietta, 1 act, 4 6 

16 Dearer than Life, drama, 3 acts-6 5 

58. Deborah (Leah) drama, 3 acts. 7 b 

125. Deerfoot, farce 1 act.£ .[ 

71 Doing for the Best, drama, 2 acts.. 5 3 

142 . Dollars and Cents, comedy, 3 acts.. 9 4 


No. M. F. 

21. Dreams, drama, 5 acts. 6 3 

186. Duchess de la Yalliere, play, 5 acts.. 6 4 

47. Easy Shaving, farce, 1 act.5 2 

13). Everybody’s Friend, comedy, 3 acts. 6. 5 

200. Estranged, an operetta, 1 act. 2 1 

103. Faust, and Marguerite, drama, 3 acts, 9 7 
9. Fearful Tragedy in the Seven Dials, 

interlude, 1 act. 4 1 

128. Female Detective, drama, 3 acts_11 4 

101. Fernande, drama, 3 acts.11 10 

99. Fifth Wheel, comedy, 3 acts.10 2 

145. First Love, comedy, 1 act. 4 1 

102. Foiled, drama. 4 acts . 9 3 

88. Founded on Facts, farce, 1 act.... 4 2 

74. Garrick Fever, farce, 1 act... 7 4 

53. Gertrude’s Money Box, farce, 1 act. 4 2 
73. Golden Fetter (Fettered), drama, 3 11 4 
30. Goose with the Golden Eggs, farce, 

1 act. 5 3 

131. Go to Putney, farce, 1 act. 4 3 

28. Happy Pair, comedietta, 1 act. 1 1 

151. Hard Case (A), farce, 1 act.2 

8. Henry Dunbar, drama, 4 acts.10 3 

180. Hemy the Fifth, historical play, 5 38 5 

19. He’s a Lunatic, farce, 1 act. 3 2 

60. Hidden Hand, drama, 4 acts . 5 5 

187. His Own Enemy, farce, 1 act.4 1 

174. Home, comedy, 3 acts. 4 3 

64. Household Fairy, sketch, 1 act. 1 1 

190 Hunting the Slipper, farce, 1 act_4 1 

191. High C, comedietta, 1 act. 4 2 

197. Hunchback (The), play, 5 acts.14 2 

18. If I Had a Thousand a Year, farce, 

1 act... 4 3 

116. I’m Not Mesilf at All, original Irish 

stew, 1 act. 3 2 

129. In for a Holiday, farce, 1 act. 2 3 

159. In the Wrong House, farce, 1 act. ..4 2 

122. Isabella Orsini, drama, 4 acts.11 4 

177. I Shall Invite the Major, comedy, 14 1 

100. Jack Long, drama, 2 acts.9 2 

139. Joy is Dangerous, comedy, 2 acts... 3 3 

17. Kind to a Fault, comedy, 2 acts_ 6 4 

86. Lady of Lyons, play, 5 acts.12 5 

72. Lame Excuse, farce, 1 act. 4 2 































































LIBRARY OF CONGRESS 


DE WITT’S ACTING PL A 


0 0 


6 215 222 1 3 


No. 


m. r. 


144. Lancashire Lass, melodrama, 5 acts. 12 3 
34. Larkins’ Love Letters, farce, 1 act.. 3 2 
137. L’Article 47, drama, 3 acts.11 5 

111. Liar (The), comedy, 2 acts. 7 2 

119. Life Chase, drama, 5 acts.14 5 

165. Living Statue (The), farce, 1 act_3 2 

48. Little Annie’s Birthday, farce, 1 act. 2 4 

32. Little Rebel, farce, 1 act. 4 3 

164. Little Ruby, drama, 3 acts. 6 6 

109. Locked In, comedietta, 1 act.2 2 

85. Locked In with a Lady, sketch, 1 act. 1 1 

87. Locked Out, comic scene. 1 2 

143. Lodgers and Dodgers, farce, 1 act.. 4 2 
189. Leap Year, musical duality, 1 act... 1 1 
163. Marcoretti, drama, 3 acts.10 3 

154. Maria and Magdalena, play, 4 acts . 8 6 
63. Marriage at Any Price, farce, 1 act. 5 3 
39. Master Jones’ Birthday, farce, 1 act. 4 2 

7. Maud’s Peril, drama, 4 acts. 5 3 

49. Midnight Watch, drama, 1 act.8 2 

15. Milky White, drama, 2 acts. 4 2 

46. Miriam’s Crime, drama, 3 acts.5 2 

51. Model of a Wife, farce, 1 act.3 2 

184. Money, comedy, 5 acts.17 3 

108. Mr. Scroggins, farce, 1 act. 3 3 

188. Mr. X., farce, 1 act. 3 3 

169. My Uncle’s Suit, farce, 1 act. 4 1 

130. My Wife’s Diary, farce, 1 act. 3 1 

92. My Wife’s Out, farce, 1 act. 2 2 

193. My Walking Photograph, musical 

duality, 1 act . 1 1 

140. Never Reckon Your Chickens, etc., 

farce, 1 act. 3 4 

115. New Men and Old Acres, comedy, 3 8 5 

2. Nobody’s Child, drama, 3 acts. 8 3 

57. Noemie, drama, 2 acts. 4 4 

104. No Name, drama, 5 acts.7 5 

112. Not a Bit Jealous, farce, 1 act. 3 3 

185. Not So Bad as We Seem, play, 5 acts.14 3 

84. Not Guilty, drama, 4 acts.10 6 

117. Not Such a Fool as He Looks, drama, 

3 acts. 5 4 

171. Nothing Like Paste, farce, 1 act_3 1 

14. No Thoroughfare, drama, 5 acts and 

prologue.13 6 

173. Off the Stage, comedietta, 1 act.... 3 3 
176. On Bread and Water, farce, 1 act... 1 2 
90. Only a Halfpenny, farce, 1 act.2 2 

170. Only Somebody, farce, 1 act.4 2 

33. One too Many for Him, farce, 1 act. 2 3 

3. £100,000, comedy, 3 acts. 8 4 

97. Orange Blossoms, comedietta, 1 act. 3 3 
66. Orange Girl, drama, in prologue 

and 3 acts.18 4 

172. Ours, comedy, 3 acts. 6 3 

94. Our Clerks, farce, 1 act. 7 5 

45. Our Domestics, comedy farce, 2 acts 6 6 

155. Our Heroes, military play, 5 acts.. .24 5 
178. Out at Sea, drama in prologue and 

4 acts.16 5 

147. Overland Route, comedy, 3 acts_11 5 

156. Peace at Any Price, farce, 1 act_ 1 1 

82. Peep o’ Day, drama, 4 acts.12 4 

127. Peggy Green, farce, 1 act.3 10 

23. Petticoat Parliament, extravaganza, 

in one act.15 24 

62. Photographic Fix, farce, 1 act. 3 2 


No. M. F. 

61. Plot and Passion, drama, 3 acts_7 2 

138. Poll and Partner Joe, burlesque, 1 

act.10 3 

110. Poppleton’s Predicaments, farce, 13 6 

50. Porter’s Knot, drama, 2 acts.8 2 

59. Post Boy, drama, 2 acts. 5 3 

95. Pretty Horse-Breaker, farce, lact.. 3 10 
181 and 182. Queen Mary, drama, 4 acts.38 8 

157. Quite at Home, comedietta, 1 act... 5 2 
196. Queerest Courtship (The), comic op 

eretta, 1 act. 1 1 

132. Race for a Dinner, farce, 1 act.10 

183. Richelieu, play, 5 acts.16 2 

38. Rightful Heir, drama, 5 acts.10 2 

77. Roll of the Drum, drama, 3 acts_8 4 

13. Ruy Bias, drama, 4 acts.12 4 

194. Rum, drama, 3 acts. 7 4 

195. Rosemi Shell, travesty, 1 act, 4 

scenes. 6 3 

158. School, comedy, 4 acts. 6 6 

79. Sheep in Wolf’s Clothing, drama, 17 5 

37. Silent Protector, farce, 1 act.3 2 

35. Silent Woman, farce, 1 act.2 1 

43. Sisterly Service, comedietta, 1 act.. 7 2 
6. Six Months Ago, comedietta, 1 act. 2 1 

10. Snapping Turtles, duologue, 1 act.. 1 1 

26. Society, comedy, 3 acts.16 5 

78. Special Performances, farce, 1 act.. 7 3 

31. Taming a Tiger, farce, 1 act. 3 

150. Tell-Tale Heart, comedietta, 1 act.. 1 2 
120. Tempest in a teapot, comedy, 1 act. 2 1 
146. There’s no S noke Without Fire, 

comedietta, 1 act. 1 2 

83. Thrice Married, personation piece, 

lact. 6 1 

42. Time and the Hour, drama, 3 acts.. 7 3 

27. Time and Tide, drama, 3 acts and 

prologue. 7 5 

133. Timothy to the Rescue, farce, 1 act. 4 2 
153. ’Tis Better to Live than to Die, 

farce, 1 act. 2 1 

134. Tompkins the Troubadour, farce, 13 2 

29. Turning the Tables, farce, 1 act_ 5 3 

168. Tweedie’s Rights, comedy, 2 acts.. 4 2 
126. Twice Killed, farce, 1 act.6 3 

56. Two Gay Deceivers, farce, 1 act_3 

123. Two Polts, farce, 1 act. 4 4 

198. Twin Sisters (The), comic operetta, 

1 act.3 1 

162. Uncle’s Will, comedietta, 1 act.2 1 

106. Up for the Cattle Show, farce, 1 act. 6 2 
81. Vandyke Brown, farce, 1 act. 3 3 

124. Volunteer Review, farce, 1 act. 6 6 

91. Walpole, comedy, 3 acts. 7 2 

118. Wanted, a Young Lady, farce, 1 act. 3 

44. War to the Knife, comedy, 3 acts... 5 4 
105. Which of the Two? comedietta, 1 act 2 10 

98. Who is Who? farce, 1 act. 3 2 

12. Widow Hunt, comedy, 3 acts. 4 4 

5. William Tell with a Vengeance, 

burlesque. 8 2 

136. Woman in Red, drama, 3 acts and 

prologue. 6 

161. Woman's Vows and Mason’s Oaths, 

4 acts.10 4 

11. Woodcock’s Little Game, farce, 2 4 4 
54. Young Collegian (Cantab.), farce, 13 3 



A COMPLETE DESCRIPTIVE CATALOGUE 
of DE WITT’S ACTING PLAYS AND DE WITT’S 
ETHIOPIAN AND COMIC DRAMAS , containing Plot, Costume, Scenery, 

Time of Representation and every other information, mailed free and post paid. Address, 

ROBERT M. DE WITT, 33 Rose Street, New York. 





























































































































